Majob



(Model.)

J. J. BAGULEY.-

MUSIC CHART.

No. 442,303. Patented Dec. 9,1890.

UNITED STATES PATENT OEEICE.V

JOSEPH JAMES BAGULEC-OF TORONTO, CANADA.

Music-CHART.

SPECIFICATION forming part of Letters Patent No. 442,303, dated December9, 1890.

Application filed December 27, 1889. Serial No. 335,162. (Model.)Patented in Canada .Tune 17, 1890, No. 34,542.

vbined Mechanical Diatonic Scale, Modulator,

Ohord-Combiner, and Organ-Key Denoter,7 or, for shortness, The MusiciansGuide, and I do hereby declare that the following is a full, clear, andexact description of the same, which will enable others skilled in theart to Vwhich it appertains to make and use the saine, reference beingmade to the accompanying drawings, in which- Figure 1 is a face-platemade of any material, with portions cut out, leaving valternate spacesand bars. The said spaces are numbered from 1 to 8 on the major side,making an octave. The said octave is composed of twelve half-tones,viz., commencing with the space No. 1,then two half-tones or bara, thenspace No. 2, then two half-tones or bar a., then space No. 8, then onehalf-tone or bar o, then space No. e, then two half-tones or bar d, thenspace No. 5, then two half-tones or bara, then space No. 6, then twohalf-tones or bar a, then space No. 7, then one half-tone or bar a,thenl space No. S. The lower half-tone or part, of bar a, marked P,between 5 and 6 is left loose, part of which extends on each end underthe plate shown in Fig. l and between it and plate shown in Fig. 2, andis for the purpose of being used in the minor mode. Lines D, drawn fromthe bars a to the outer edges of chart, are for the purpose ofintersecting other lines drawn from top to bottom for the formation ofsquares, as at S and T, and for the guidance of the eye from the numbersor symbols in the squares to the letters in the spaces between the barso. in line with them. Lines E are drawn from top to bottom for thepurpose of intersecting those lines, drawn from the bars d outward, toform squares, as aforesaid, as at S and T aforesaid. The

.squares ai S and T aforesaid are for the purnote the number of degreeor interval in the scale or key. The first seven letters of the alphabetand symbols denoting flats and sharps in music are used as described onFig.

,2, also symbols H, as described on same for the purpose of illustratingiiats and sharps on the organ key-board. The syllables in column O onthe outer right and left hand sides of the bars a are to assist thevoice to produce. the required tones in any key.

Harmonical sounds or degrees are denoted by the following names andorder, and the same are to be traced to spaces between the bars on linewith them, so as to form the various chords, viz: tonic or key note, asat f, and marked in squares in line with it, with Xl, with its attendantaccessories 1-1=*; supertonic or second degree, as at i, and marked insquares in line with it, with X2, 2-2r-;

, mediant or third degree, as at j, and marked in squares in line withit, with X3, 3-3=i; sub-dominant or fourth degree, as at h, and markedin squares in line with it, with X4, t-lzi; dominant or fifth degree, asat g,and marked in squares in line with it, with X5, 5-5=ig sub-mediantor sixth degree, as at 7o, and marked in squares in line with it, with6, 6-6-53 leading note or seventh degree, as at e, and marked in squaresin line with it, with X7, 7-7=i. The various harmonical names of soundsor degrees are repeated in column U, and are in line with spaces betweenthe bars a. Major triads and chords of the seventh will be found markedin the squares at S, on the left-hand side of the bars a, and minortriads and chords of the seventh on the right-hand side of the bars a,inside the squares, as at T, showing clearly their relationship, yettheir distinctive character. Root notes or tones are indicated by across (X) before the figure in the squares. Accessory notes or tones areindicated by a dash or double dash (2) after the figure, viz: the thirdof the triad or chord by a single dash after the figure, and the fifthof the triad or chord by a double dash after the 4 dicated by the signin the square. An

octave is a repeat of a letter higher in the scale, as from C to C. Thechart may contain any number of octaves. The bars, squares, symbols, andfigures may be et any color.

Fig. l shows the front plate of chart with the plate of Fig. 2underneath showing in the spaces the letters A B C D E F G. Fig. 2comprises a plate of any material on which is printed, painted, ormarked theletters and symbols, as shown in drawings on face of Fig. 2.The said plate tofbe placed under the plate of Fig. l, with the lettersand symbols next tothe bars a, and to the back of which is attached aring and staple to move said plate, Fig. 2, when required. Fig. 3 showsbaelcview of Fig. 2 with ring Q and staple al passing through to frontpart and clinched, so'as tomove said plate, Fig. 2; Fig. t, back view ofFig. l, showing'bars a and pieces or ribs n for guiding of Fig. 2 whensliding between the said ribs fr. 1/ is the space in which slides theplate of Fig. Fig. 5, aback plate to'eover back ot' chart, showing` slotR toallow ring. Q to slide in moving plate of Fig. 2. The said'back partor plate to be cemented or fastened to pieces or ribs if, as aforesaid,as shown on Fig. 1l.

Flats and sharps on the key-board ot' the organ or piano are representedby a dark color upon the plate ot' Fig. 2, appearing. in the spacesbetween the bars trot' plate of Fig. l, indicating the flats and sharpsto be played on the organ according to the key in which the slide, Fig.2, is set er placed under Fig. l.

In order to facilitate the playing of any triads or chords of theseventh on the organ, place the chart with the top part to the right,then the major triads and chords of the seventh-will be found in thesquaresS above the bars a, and the miner triads and chords of theseventh below the bars a in the squares at T, as aforesaid. If fourparts are required, then double the root-note in preference to theaccessories.

All the characters described in the squares must be traced in line toletters and symbols in spaces between bars a.

The chart is used in the following manner: Having fixed upon a certainkeyfor example, say the key et' C major or open keymove the plate, Fig.2, with ring Q, until the foundation or key note or letter C comesoppoposite the number one on the major side of the bars on Fig. l. Thenwill appear the proper intervals in the diatonic scale in the major moodof C, and also all the triads and chords of the seventh mapped out.inside the squares at S-viz., the tonie marked l, l -l= the letters forwhiclrwill be found by tracing between the lines to the letters in thespaces between the bars a aforesaid7 which will be C E G;those'constituting the tonic triad in the key of` C major, as aforesaid;or, further, take the chord of the dominant seventh in the same key.Then will appear 5, -zt Trace these to the letters between the bars aand they will bc found to eonsistof G B DF, those constituting the chordof the dominant seventh in the key of C major, as aforesaid.

To modulate into the relative minor to the foregoing C major, firstbring down the loose part, bar P, between 5 and G on the major side, andyou then have the minor intervals in the key of A minor, and also allthe triads and chords of the seventh mapped out in the squares on theright-hand side of the bars a, as at T. For example, the tonic triadwill be marked l-l-l=. Trace these to the letters between the bars andyou have A C E, those constituting the tonic triad in the key of Aminor; or take the dominant seventh, chord in the same key-v'i7.., 5.55zi. Trace these to the letters in the spaces between the bars and theywill be foundto consist'of E HG B D, those constitutingthe `chord ot'the dominant seventh in the key of A minor.

To form any triad or chord of the seventh, either major or minor, first[ind the rootnotc required and add its accessories, trace tothe lettersin the spaces between the bars a, then will appear the desired triad orchord olf` the seventh.

This chart shows at sight the variousintervals in'any key according asthe slide, Fig. 2, is set under the plate of Fig. l. It clearly definesthe difference and relationship be tween the major and minor modes;also, all the triads and chords of the seventh in any key, also howeasily to pass from a majorto its relative minor by simply moving bar l,also the attinity of chords. lt is useful in analizingany piece ofmusic. lt is especially useful to the student in learning to playtheflute, violin, organ, or any other instrument, making plain thevariousintervals in the diatonic scale, showing the reason of flats andSharps to be used in the various keys, also showing how to easily passfrom one key to another by simply moving slide, Fig. 2, undervthe plate,Fig. l; also, it is an index or key to blaekboard exercises in thediatonic seale,.and`also shows the various black keys to be used inplaying on the organ.

Having described my invention, what l claim is- A musical chartconsisting' et a main front part provided with a central row ofalternate bars and spaces, the half-bar P, andlines D and E, formingsquares in which are symbols and Iigures arranged in the manner shown,in combination with a sliding plate provided with symbols and charactersshown and arranged to slide between ribs V on the rear side of the mainplate, all constructed and arranged as and for the purposes set forth.

Toronto, county ot'V York, Province of Cntario, Dominion of Canada,November 27, A. D, 1889.

JOSEPH JAMES BAG ULEY. In presence of- OcTAvioUs WHITE, CHARLES J oseraBiteULnv.

